Ensayo - Overcoming The Problematic of Art - Yves Klein - de Antonio Gonzalez Almazan
ensayo sobre la exposicion "el vacio" de Yves Klein, realizado como evaluacion final de la clase de historia del arte contemporaneo en santa reparata international school of arts en florencia, italia.
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Ensayo - Overcoming The Problematic of Art - Yves Klein - de Antonio Gonzalez Almazan
ensayo sobre la exposicion "el vacio" de Yves Klein, realizado como evaluacion final de la clase de historia del arte contemporaneo en santa reparata international school of arts en florencia, italia.
We take content rights seriously. If you suspect this is your content, claim it here.
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Overcoming the
Problematic of Art
by Antonio Gonzalez
Santa Reparata International School of Art
April 16, 2002; Florence, Italy to my grandfather “OVERCOMING THE PROBLEMATIC OF ART”
There are many issues when talking about artwork such a8 composition, shape,
color, ling, light and the materials; nowaver, there is something more important
and that makes each artwork different from one another: the "pictorial sensibility"
Many artists have dominate and innovata in the Use of colors and light, as can be
soon in Van Gogh’s paintings, in creating great compositions such as the work of
Millet, or an excellent use of different materials lise the dadaist artists did. The
issue is; what makes all this artworks 80 valuable, 4 unique, 80 magical? It's not
just the line, the color, the materials or the composition themselves. I's the
artwork “aura, i{ is what Eugene Delacroix defined as the “indefinissable® (the
sole true merit of painting), itis the “pictorial sensibility’. One of the best ways to
understand this “pictorial sensibility’ of an artwork is by an exhibit with ne
precedents in art history, presented by the French artist Yves Klein titled "The
specialization of sensibility in the raw material state into stabilized pictorial
sensibility’, best known as “Le Vide" (The Void) that took place in the Ins Clert
Gallery, in Pans, in April 28", 1958, Carefully and with a specific schedule. he
organized this exhibit, that was a radical consequence of his pictorial evolution,
where he showed nothing. just the gallery itself, empty, all painted in white, The
art piece that he wanted to show was not a real object, or oven an idea, it was the
“immaterial” ag Yves Klein understood it, As the artist always did, Ne chose the
public space of a gallery with a limited time fo experiment the artistic freedom, and
living a Fitual act. Not only this exhibit is important because of Klein's research of
the ‘pictorial sensibility’ but also because this ‘pictorial sensibility” will Inspire new
Art movements, such as conceptual art, happenings and performances, nnimal
artand even the role of museums, galleries and space in art
Yves Klein was born on April 28" of 1928, in Nice, France. His father, Fred Klein,
was a figurative painter and his mother, Marie Raymond would become one of the
fst abstract painters. His creative and spiritual qualities to create art were around
him during his childhood thanks to this artistic environment he lived in, Klein
followed his parents a they moved throughout France, experiencing different
approaches to art. He had a iot of froe time s0 he Used fo spend his evenings on
the beach, looking at the sea and the sky, where he was amazed by the blue of
the sky and the sea, considering this color the best way to show the infinite space
and the spiritual values that he wanted to express,
In 1947 he started his first judo classes, which helped him to have the spiritual
balance he was looking for and that will characterize his artwork, During this time,
great friendship with Claude Pascal and Arman started that would later on lead
to an artistic exchange, The three friends used to sit on the beach talking about
Creation and spiritual space. The "divided" the world into three part between them
Armand got the land and the riches, Pascal got the air, and Yves got the sky and
ts infinites, Yves wanted to “sign” the sky and make it his pioce of art
